Uncategorized
Hillel Silverman, longtime rabbi whose congregant killed JFK’s assassin, is dead at 99
(JTA) — “If you want to know about my brother, Jack Ruby, you should talk to Hillel Silverman. He was our rabbi in Dallas for 10 years before President Kennedy’s assassination, and he knew Jack very well.”
It was 1976, and I had convinced Eva Rubenstein Grant — a loud woman with an even louder red wig — to appear on an ABC program to speak about her brother, who fatally shot John F. Kennedy’s alleged assassin Lee Harvey Oswald on live television 13 years earlier.
It was years, however, before I was able to speak to Rabbi Silverman, for a TV program I was producing about the JFK assassination. Our conversation in 1991 was the first of several chats we had about Ruby (and other topics) and the glancing role Silverman played in the national trauma surrounding the president’s murder. He was one of the last surviving witnesses who testified in 1964 before the Warren Commission, which investigated the assassination.
The Kennedy assassination was a relatively minor aspect of a 70-year career in the rabbinate, during which Silverman served as the founding rabbi of Congregation Shearith Israel in Dallas, and then as the senior rabbi at Sinai Temple in Los Angeles for 16 years, among other pulpits.
Silverman, the son of a prominent Conservative rabbi, died in Los Angeles this week of pneumonia at the age of 99. It was one month after he celebrated his birthday — and the birth of a great-grandson and the upcoming wedding of a grandchild — at Valley Beth Shalom in Los Angeles, where in his last official role he served as a visiting scholar.
Silverman was spiritual leader of Shearith Israel in Dallas from 1954 to 1964; Jack Ruby, a nightclub owner with links to the Mafia, was one of his congregants. Silverman told me in 2013, on the 50th anniversary of the Kennedy and Oswald murders, that Ruby would attend services to say Kaddish, the memorial prayer, for his father.
“He came to the minyan one day with a cast on his arm,” Silverman recalled. “I said, Jack, what happened? He said, ‘In my club, somebody was very raucous, and I was the bouncer.’”
Nov. 22, 1963, the day Oswald shot and killed Kennedy, was a Friday. Evening services at the synagogue “became a memorial service for the president,” Silverman said. “Jack was there. People were either irate or in tears, and Jack was neither. He came over and said, ‘Good Shabbos, rabbi. Thank you for visiting my sister Eva in the hospital last week.’ I thought that was rather peculiar.”
Two days later, Silverman switched on the radio and heard that a “Jack Rubenstein” had just killed the alleged assassin. The Warren Commission would later come to the still-disputed conclusion that Ruby acted alone — quashing rumors of a conspiracy — and shot Oswald on impulse and out of grief over Kennedy’s assassination.
“I was shocked. I visited him the next day in jail, and I said ‘Why, Jack, why?’ He said, ‘I did it for the American people.’”
I interrupted Silverman at that point, as I’d read other reports in which Ruby said he did it “to show that Jews had guts.” The rabbi sighed. “Yes, he mentioned that. But I don’t like to mention it. I think he said, ‘I did it for the Jewish people.’ But I’ve tried to wipe that statement from my mind.”
Silverman vividly described his weekly jailhouse visits to his now-notorious congregant, who was found guilty of murdering Oswald and who died in prison from lung cancer four years after the assassination. “In prison, Jack deteriorated psychologically,” Silverman recalled. “One time I walked in and he said, ‘Come on, rabbi, duck underneath the table. They’re pouring oil on the Jews and setting it on fire.’ He was quite psychotic.”
Jack Ruby, right, shoots Lee Harvey Oswald in Dallas, Nov. 25, 1963. (Dallas Times Herald)
Hillel Emanuel Silverman was born in Hartford, Connecticut, in 1924 to Althea, a prolific author, and Rabbi Morris Silverman, a prominent Conservative rabbi who edited the Shabbat and High Holiday prayer books used by the movement for more than half a century.
Hillel was ordained as a Conservative rabbi after graduating from Yale University. Following his service as a Navy chaplain during the Korean War, he led the congregations in Dallas and Los Angeles, and served 20 years as a spiritual leader of Temple Sholom in Greenwich, Connecticut.
He and his first wife Devora had three children: Gila Rutta, Dr. Sharon Pollock and Jonathan Silverman, the actor best known for films such as “Weekend at Bernie’s” and “Brighton Beach Memoirs.” He is survived by his wife of over 40 years, Roberta Silverman, his three children, three step-children (David Smotrich, Debbie Diamond and Arona Smotrich), 12 grandchildren and three great-grandchildren.
Silverman wrote or co-edited a dozen books, and during a visit when he was 95 told me, “I think I still have one more in me.” He was the recipient of numerous awards, including a Medal of Honor from Israel’s then-Prime Minister Menachem Begin for his “distinguished service to Israel and the Jewish people.” He was past president of the Zionist Organization of America, Southwest Region.
In his 90s, he continued to officiate at High Holiday services in southern California, at times with one of his grandchildren, Rabbi Matt Rutta.
When the COVID pandemic shut down in-person classes, Silverman conducted weekly online Torah study sessions with Rabbi Ed Feinstein of Valley Beth Shalom synagogue. Sharp-eyed participants would notice a movie poster on the wall behind Silverman for “Weekend at Bernie’s II,” in which he appeared briefly as a restaurant maitre d’.
My final visit with Rabbi Silverman took place last October. He was in a wheelchair, living with his daughter Sharon and son-in-law Mark, and his mind and sense of humor remained as sharp as ever. Last month, I was thrilled to receive a birthday email from him, recalling our discussions about Ruby and wishing me continued success in my career. “Since I am thirty years ahead of you, I can guarantee many more productive, enjoyable years!” he wrote.
During his final hospitalization, a family member at his bedside asked about the rabbi’s former congregant one last time: Did Ruby have anything to do with a conspiracy?
The family shared a video of that moment with me, in which Silverman adjusts his oxygen mask, shakes his head and firmly says, “No!”
—
The post Hillel Silverman, longtime rabbi whose congregant killed JFK’s assassin, is dead at 99 appeared first on Jewish Telegraphic Agency.
Uncategorized
New documentary captures the lively history of Yiddish theater in America
The new documentary Immigrant Songs: Yiddish Theater and the American Jewish Experience, produced by the Milken Archive of Jewish Music, is fast, entertaining and a good introduction to the topic.
Focusing mainly on the musical side of the story, but covering ‘straight plays’ as well, the film opens with a superb ‘warm-up act’: “Hu Tsa Tsa,” a stock Yiddish vaudeville number performed by the widely mourned Bruce Adler, who died in 2008 at age 63. Bursting with charm and talent, Adler, scion of a top Yiddish vaudeville family, demonstrates that Yiddish theater used to be pretty damned lively.
What follows is the oft-told story of the rise and decline of the American Yiddish theater, beginning with its prehistory in the Purimshpiels — the annual performances that for centuries served as the only secular entertainment in the Ashkenazic world. From there the film takes us to Yiddish theater’s 1876 birth in Romania, courtesy of Avrom Goldfadn, a.k.a. “The Father of Yiddish Theater.”
The film also describes Yiddish theater’s arrival in America, which, thanks to massive Jewish immigration, quickly became its capital. We learn of its influence on American theater’s styles of acting and set design. And the film describes the decline of its audience, due to assimilation and the immigration quotas of the 1920s.
There’s an excellent section on “The Big Four” Yiddish theater composers — Joseph Rumshinsky, Alexander Olshanetsky, Abe Ellstein, and Sholom Secunda. All in all, the documentary does a fine job of teaching the aleph-beyz, the ABCs, of the history of Yiddish theater to the uninitiated.
The most impressive aspect of Immigrant Songs is its well-crafted pace. Though there are a few snippets of vintage Yiddish cinema (Yiddish theater’s “kid brother”), most of the film consists of recent concert footage, some well-selected photographs and ephemera, and a lot of talking heads. Almost every prominent Yiddish theater historian was interviewed for it, along with several musicologists, an archivist, Yiddish actors, directors, producers, etc. (Full disclosure: I am one of them.) Director Jeff Janeczko cuts between the interviewees so smoothly — sometimes in mid-sentence — that it feels like they’re in the same room and feeding off each other’s energy. The movie just flies by.
There are a few errors. Marc Chagall is described as an important designer of Yiddish theater; actually he designed one minor production in Russia in 1921, and never did another. In a bizarre, and biblically illiterate, statement, one interviewee claims that Jews hadn’t developed a theater culture earlier because the Second Commandment’s prohibition of “graven images” forbade the construction of sets. (Actually it’s about idol worship.)
Another interviewee claims that the Yiddish play Der Yeshiva Bokher; oder, Der Yudisher Hamlet — The Yeshiva Student; or, The Jewish Hamlet (Yiddish plays then often had subtitles), is closely patterned on Shakespeare’s tragedy. In truth, the play — written by Isidore Zolotarevski, the prolific writer of shund (“trash”) melodramas — is not only awful, but is as close to Shakespeare as baked ham is to your grandmother’s kreplach.
The film’s biggest fault, however, is its short running time (45 minutes). This is a rich topic, and too much is left by the wayside in the interest of brevity. There’s nothing about what shund melodramas felt like, why they appealed to their audiences, and why they became the only thing a lot of people know about Yiddish theater.
There’s also nothing about the World War I-era wave of shtetl plays, which reflected immigrants’ homesickness without indulging in nostalgia, and provided some of Yiddish theater’s shining moments with plays like Green Fields, The Empty Inn and Tevye. And the most important play in the Yiddish canon, The Dybbuk, is never mentioned.
Perhaps most surprisingly, considering the film’s emphasis on music, there is no examination of Yiddish theater’s influence on Broadway’s music. (Cole Porter — ironically, the only gentile among the major composers of Broadway’s Golden Age — had a pronounced Jewish lilt in a number of his songs, and he actually attended Yiddish theater regularly.)
The film’s last section is about the renewed interest in Yiddish that began in the 1970s and ’80s with the klezmer revival. Much of it focuses on the 2018 Yiddish production of Fiddler on the Roof in Yiddish, whose success was predetermined the moment the production was announced.
For the overwhelming majority of American Jews, from the Orthodox to the unaffiliated, Fiddler is all they know about the lives of their ancestors. And though it’s a world-class piece of musical theater, as a work of social history Fiddler is as phony as a glass eye. Nevertheless, for American Jews it’s a sacred text.
Fiddler was a huge hit, but it was a gimmick, a one-off, whose success does very little for the future of Yiddish theater. Worse, the Yiddish — not the text, but the lines spoken by most of the actors — was often mispronounced and had the wrong intonation. (One elderly gentleman of my acquaintance, a native Yiddish speaker from Czechoslovakia, told me he didn’t understand a word the actors said, and spent the whole evening reading the English supertitles.)
What follows the Fiddler section in Immigrant Songs is mostly bromides. But the best current Yiddish theater reflects the kind of fresh thinking that keeps the form alive.
An occasional well-presented museum piece, like the Folksbiene’s 2016 revival of Rumshinsky’s operetta The Golden Bride, is a very worthwhile project (though it, too, suffered from poorly spoken Yiddish). But the most dynamic contemporary Yiddish theater is, in Jeffrey Shandler’s apt phrase, “post vernacular” — i .e., the use of Yiddish is self-conscious, a deliberate choice rather than something that’s done automatically, as it would have been a century ago when there were a lot more Yiddish speakers in the world.
An example of this is the 2017 neo-realist film Menashe, which could far more easily and conventionally have been made in English. Or a well-known piece done in Yiddish translation, like Shane Baker’s stunning Yiddish translation of Waiting for Godot, can become something much more valuable than a mere stunt. The Yiddish version, under Moshe Yassur’s straightforward direction, humanized the play, stripping it of the encrusted pretentiousness that had hidden its soul. (When it was presented in the International Samuel Beckett Festival in Ireland, multiple audience members approached the cast afterwards with the same reaction: “I don’t speak a word of Yiddish. But I’ve seen Godot five or six times, and this is the first time I understood it.”)
There’s a lot to be learned from Immigrant Songs. If you find yourself hungry for more, you couldn’t do better than to seek out YIVO’s online Yiddish theater course “Oh, Mama, I’m in Love!” But by all means, start with Immigrant Songs. It’s a very entertaining and informative appetizer.
The post New documentary captures the lively history of Yiddish theater in America appeared first on The Forward.
Uncategorized
UK PM Starmer Says There Could Be New Powers to Ban Pro-Palestinian Marches
British Prime Minister Keir Starmer gives a media statement at Downing Street in London, Britain, April 30, 2026. Photo: REUTERS/Jack Taylor/File photo
British Prime Minister Keir Starmer said the government could ban pro-Palestinian marches in some circumstances because of the “cumulative effect” the demonstrations had on the Jewish community after two Jewish men were stabbed in London on Wednesday.
Starmer told the BBC that he would always defend freedom of expression and peaceful protest, but chants like “Globalize the Intifada” during demonstrations were “completely off limits” and those voicing them should be prosecuted.
Pro-Palestinian marches have become a regular feature in London since the October 2023 attack by Hamas on Israel that triggered the Gaza war. Critics say the demonstrations have generated hostility and become a focus for antisemitism.
Protesters have argued they are exercising their democratic right to spotlight ongoing human rights and political issues related to the situation in Gaza.
Starmer said he was not denying there were “very strong legitimate views about the Middle East, about Gaza,” but many people in the Jewish community had told him they were concerned about the repeat nature of the marches.
Asked if the tougher response should focus on chants and banners, or whether the protests should be stopped altogether, Starmer said: “I think certainly the first, and I think there are instances for the latter.”
“I think it’s time to look across the board at protests and the cumulative effect,” he said, adding that the government needed to look at what further powers it could take.
Britain raised its terrorism threat level to “severe” on Thursday amid mounting security concerns that foreign states were helping fuel violence, including against the Jewish community.
“We are seeing an elevated threat to Jewish and Israeli individuals and institutions in the UK,” the head of counter-terrorism policing, Laurence Taylor, said in a statement, adding that police were also working “against an unpredictable global situation that has consequences closer to home, including physical threats by state-linked actors.”
Uncategorized
War Likely to Resume After Trump’s Rejection of Latest Proposal, Says IRGC General
Iranians carry a model of a missile during a celebration following an IRGC attack on Israel, in Tehran, Iran, April 15, 2024. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
i24 News – A senior Iranian military figure said that fighting with the US was “likely” to resume after President Donald Trump stated he was dissatisfied with Tehran’s latest proposal, regime media reported on Saturday.
The comments of General Mohammad Jafar Asadi, one of the top Islamic Revolutionary Guard Corps (IRGC) commanders, were relayed by the Fars news agency, considered as a mouthpiece of the the powerful paramilitary body.
“Evidence has shown that the Americans do not not adhere to any commitments,” Asadi was quoted as saying.
He further added that Washington’s decision-making was “primarily media-driven aimed first at preventing a drop in oil prices and second at extricating themselves from the mess they have created.”
Iranian armed forces are ready “for any new adventures or foolishness from the Americans,” he said, going to assert that the Iran war would prove for the US a tragedy comparable with what was for Israel the October 7 massacre.
“Just as our martyred Leader said that the Zionist regime will never be the same as before the Al‑Aqsa Storm operation [the name chosen by Hamas leadership for the October 7, 2023 massacre in southern Israel], the United States will also never return to what it was before its attack on Iran,” he said. “The world has understood the true nature of America, and no matter how much malice it shows now, it is no longer the America that many once feared.”